2 The concept of the good lifestriving as Milton and Lord would say, appears in Johann Wolfgang von Goethes drama Faust (1774-1808), Wolfgang Amadeus Mozarts opera Don Giovanni (1787 debut in Prague), and George Bernard Shaws play Don Juan (1903), but each has a different vision of the good life. In each of these stories the protagonist makes a pact with the Devil that results in their fall; again the pact is different: direct in Goethe, by implication in da Ponte/Mozart, and as a conversational opponent in Shaw. But what do they want so badly that they would make such a deal with the Devil, ultimately giving up their soul? Each artist addresses the reasons why a reasonable man would sell his soul for something he strives for. In Goethes tragedy Faust, an elderly professor, frustrated by his inability to discover the meaning of life despite his other scholarly lifetime achievements, is about to end his life when he hears celestial music. As Faust sits restless in his office for he muses on, The impossibility of knowledge! It is this that burns away my heart I cannot presume to make use of my learning, I cannot presume I could open my mind to proselytize and improve mankind. He continues to say he hopes that the supernatural may allow him, to learn what it is that girds [holds] the world together in its [innermost] being. through witnessing and experiencing the way things work will be the only end of his misery (Faust 227). He wants to live a good life and help mankind. If Faust ever reaches pure satisfaction, as he says upon making the deal, If ever I say to the passing moment Linger a while! Thou art so fair! then you may cast me into fetters, I will gladly perish then and there! (240) Mephistopheles (Satan) can have his soul if he no longer seeks. In the end of the poem Faust is saved by his continuous drive to strive to understand the meaning of life, for knowledge, and his efforts to go beyond human abilities. He helps mankind by draining a swamp so that people could use the land to farm and live on. This, at the end of the poem, is Fausts first commitment to others rather than to himself. Faust is the manifestation of 3 the nature of mankind, not only in his deeds and emotions but also his strengths and weaknesses. It is a Romantic end because Faust earned life by doing. In Mozarts opera Don Giovanni makes a pact with the Devil for reasons that are unclear to the spectator. What is made quite clear is that Don Giovanni enjoys fine meals and splendid wine, lavish accommodations, and a different woman every night (each of whom he falls in love with). In Leporello's famous catalogue aria he tells the audience of the thousands of his masters conquests. In other words, Don Giovanni is a party animal and a hardcore player; he has an extensive list of hundreds of women he had one night stands with from all over Europe. All Don Giovanni wants is to have a good time, as well as ensuring his guests and everyone else has a good time. The opera begins as he flees from one of his lovers, named Donna Anna, whom he seduced, promised to marry, and left. As he leaves Donna Annas her father, the Commander, confronts him and is killed in their duel. Donna Anna lies to her fianc Ottavio that Don Giovanni dishonored her. Later Don Giovanni tries to break up a peasant couple who plan to marry that very day. He seduces the bride to be and is cock-blocked by a former lover, Elvira, seeking revenge on Don Giovanni for his perfidious and evil deeds. Together Elvira, Ottavio, and Donna Anna work to expose Don Giovanni. The trio arrive masked at the Dons mansion for proof that he killed the Commander. In the original final scene Don Giovannis house prepares for another party. Elvira seeks him out and pleads with him to change his evil ways of living and encourages him to repent. She says, Ah, change your life! (43). Don Giovanni refuses. The statue of Donna Annas father comes to dine with Don Giovanni telling him to Repent, and change thy life, or thy last hour is come (47). Still Don Giovanni refuses to repent and thus the scene ends with the screams of Don Giovanni and his manservant Leporello as Don Giovanni 4 falls into Hell. Unlike Goethes Mephistopheles, the Devil (disguised as a servant) works silently and goes unacknowledged by the other characters throughout the opera. Don Giovanni is the only one who recognizes him as the Devil, but only at the end when the Commander takes him down to Hell. Don Giovanni did not strive to help mankind or seek wisdom, he was so self involved that he did not listen to the warnings of people who cared about him. He cared about no one but himself and that concluded in self-destruction because a life of pleasure is thought an unworthy life, without any redeeming features or values. George Bernard Shaws Don Juan in Hell is a response to Mozarts opera. Don Juan rests dejectedly in the pits of Hell, bored by the romantic illusions and delusions of those who dwell with him. Heaven is coldly intellectual, while Hell is where one pursues happiness and cultivates the emotions, which are indeed the opposite of our preconceptions of Heaven and Hell, and is a typical Shaw reversal of values. Don Juan wants to live eternity in solitude to contemplate and help life proceed for the better. He has absolute faith in mankinds potential beyond the limitations of human mentality eventually leading to the creation of a superhuman that far surpasses human beings. His credo is I want to know myself and my destination, and choose my path; (Don Juan in Hell 290). Don Juan has a philosophical brain, which makes him a good candidate for Heaven. He believes the core of the Life Force is intellect and that it is necessary for great ideas to move us so that we strive to achieve philosophical ideals. There is a constant game of tug of war between striving for wisdom to understand the secrets of life and striving to achieve quotas of what we should, and should not do because it is the conventional standard. There is a reason why the Faust Legend is so compelling because it has been told and retold for centuries. The outlier in this series is Mozarts Don. His pursuit of pure pleasure has no redeeming qualities and for this he is damned. Goethe and Shaw are akin; 5 for both the protagonist strive for knowledge of the self that is ultimately to be followed by wanting to better mankind. But Shaws Faust is completely intellectual, unlike Goethe; or rather that he begins as intellectual, experiences a long sensual period, then returns not to pure reason but to the conviction that he must do something for mankind generally. Other things to consider: Shaw is much closer to Goethe than to Mozart. Goethe and Mozart are contemporaries and Shaw is a descendant of the Enlightenment. But each follows a different path although they start out together. Goethe begins his poem as a Romantic quest and ends up a kind of social reformer. Mozarts Don Giovanni undergoes no transformation. He is a consistent voluptuary.